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I also got the impression that the last panel of the issue was supposed to be a visual hint to future plots, but failed on account of the artist being a goddamn reprobate.

i... i don't know what to say

Pretty much every expression looked wrong, half the characters looked like they had downs syndrome, the colouring was inconsistent and at times just weak... I don't know what there is to defend. To be honest, it looked like an issue at the inking/colouring stage rather than with the lineart itself, something I should have clarified.

I also got the impression that the last panel of the issue was supposed to be a visual hint to future plots, but failed on account of the artist being a goddamn reprobate.

I agree with you totally. I didn't mind the colors so much, but Jesus, there were two facial expressions in the whole book: "no emotion" and "slight befuddlement". That part where Jessica Jones is on the phone with Cage, right? At the end of the conversation, when the text is bolded and slanted, which to me implies that it's being said with volume and force? Her face was blank.

2) Seeing Ted show such willingness to face death again, if it means Booster gets to save his sister.

Atomic Robo

[talking about an enormous set of doors] "Okay seriously? Those are end boss doors."

X-Factor

1) Rictor's all-too-brief ass-kicking spree.

2) Jamie walking into a mob of anti-mutant extremists alone, and then kicking their asses.

Fantastic Comics aka The Next Issue Project
The whole damn thing was awesome. Kind of like the Grindhouse of comic books, this comic's all about taking old Golden Age comics and embracing them, not trying to update them and make them cool and relevant. That kind of stuff's cool, but it's already being done in Project Superpowers and The Twelve. No, in Fantastic Comics you get nine stand-alone stories, printed on oversized, textured pages, complete with replicated printing flaws and goofy mock advertisements. Most of the stories have the artists and writers replicating the Golden Age style of comics, with many tiny panels per page, and exposition-filled captions like in Jim Rugg's Captain Kidd, or Tom Scioli's Space Smith, while others are done in a bit more of a modern style, while still retaining the characters' innate Golden Age silliness, as in Andy Kuhn's Yank Wilson story. Some are a bit of a mash-up of styles, like Erik Larsen's Samson tale, which looks like something from an old Marvel monster comic, or the Stardust the Superwizard story illustrated by Mike Allred, where Allred updated the old character models, but retained the artistic flaws of Fletcher Hanks, Stardust's creator.

All in all, it's an incredibly fun book. Don't let the high price tag scare you away. For 64 pages at $5.99, you're actually getting a better deal than you would on a standard 22 page, $2.99 comic.

I read Alias and loved the art there. It fit the style and tone perfectly. It clearly didn't work for whatever reason on this issue, at least in my opinion. Ares looks like he's going to eat the baby in one scene. I think it's the inker or colouring, but anyway I try to look at it, it's bad. The opening pages with Luke going to the Alias office looked great in comparison to the rest of the issue though.